This work is based on the comparative iconographic analysis of a distinct corpus of paintings within the Later Stone Age, Bushman or San art of southern Africa. They are distinct from the rest of the paintings of the region in age, numbers, variety, complexity and density. It defines in detail the principles that determined the form of the paintings - where the primary concern was to depict objects through outline alone - and the canon - the very restricted range of subjects that were depicted. It demonstrates that the human imagery established a set of archetypes, expressing concepts of the roles of men and women in the community through a set of readily legible attributes. The art was thus in essence conceptual and, of its nature, not concerned with the individual, illustration, narrative, documentation or anecdote. Within this framework, the paintings focused on concepts of the various forms and degrees of supernatural energy or potency that all San have believed to be inherent in every person. Further studies demonstrate how large and dangerous animals, particularly the elephant, were conceived as symbols of potency and their hunting as a metaphor for trance. Compositions based on oval shapes and the dots within and emanating from them are shown to be further symbols of aspects of potency. Many recurrent and hitherto ignored motifs attached to human figures are shown to be a graphic commentary on the metaphysics of the archetypes. The study is set in the context of the archaeology of the sub-region, recent studies of San concepts, perceptions and beliefs, a review of previous research, and a critique of influential recent South African work which first integrated paintings with San beliefs.

This dissertation is an attempt to define the constellation of circumstances and ideas, which has determined my strategy in the paintings and performances submitted for examination. Unlike many artists I do not accept the fact of postmodernity. On the contrary, art and life remain suspended between the future and the past, the essential modernist condition. I argue for this in the introduction and the first two chapters, through a description of the performance work of Joseph Beuys and on my reaction to it in a performance in which I attempted to examine the practical paradoxes of art making in late modernity. I take my position largely from the Frankfurt school and succeeding debates about their work up to Zizek. For, while we remain in modernity we cannot regard it simply as an unfinished project. It is no longer possible to adopt an avant-garde position in one�s practice. The central section of the thesis contains a series of studies of the careers of major artists who have faced up to the paradoxes of modernity from Picasso to Richter and Parr. Through their successes, failures and sometimes duplicity, a practical profile emerges � a guide to the limits of contemporary practice. The last chapter concerns my paintings as a response to this profile.

This dissertation is an attempt to define the constellation of circumstances and ideas, which has determined my strategy in the paintings and performances submitted for examination. Unlike many artists I do not accept the fact of postmodernity. On the contrary, art and life remain suspended between the future and the past, the essential modernist condition. I argue for this in the introduction and the first two chapters, through a description of the performance work of Joseph Beuys and on my reaction to it in a performance in which I attempted to examine the practical paradoxes of art making in late modernity. I take my position largely from the Frankfurt school and succeeding debates about their work up to Zizek. For, while we remain in modernity we cannot regard it simply as an unfinished project. It is no longer possible to adopt an avant-garde position in one�s practice. The central section of the thesis contains a series of studies of the careers of major artists who have faced up to the paradoxes of modernity from Picasso to Richter and Parr. Through their successes, failures and sometimes duplicity, a practical profile emerges � a guide to the limits of contemporary practice. The last chapter concerns my paintings as a response to this profile.

Two long-held views in Mesoamerican research, the Mexican origin of the god Tezcatlipoca and the insinuation of Toltec iconography into the artistic format of Chichen Itza, Yucatan, Mexico, emanating from Tula, Hidalgo, Mexico conditioned this research. Considering Tezcatlipoca to be a Mexican god imparts both a foreign origin for and the preexistence of that god in Central Mexico prior to its manifestation in the sculptural repertoire of Chichen Itza, a Maya city. However, this thesis demonstrates that no conclusive evidence of a Mexican origin for Tezcatlipoca exists. This work rejects the near dogmatic assumption of that godas Mexican pedigree, and asserts the iconographic primacy of Tezcatlipoca imagery at the Maya city of Chichen Itza, Yucatan over the Toltec city of Tula, Hidalgo. It also suggests the possible derivation of Tezcatlipoca from the Maya God K - K'awil.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-09-01T14:36:13Z No. of bitstreams: 1 Jorge Lúzio Matos Silva.pdf: 22243686 bytes, checksum: 9b7d96e5a57d3917f4e717f5cdf50413 (MD5) / Made available in DSpace on 2016-09-01T14:36:13Z (GMT). No. of bitstreams: 1 Jorge Lúzio Matos Silva.pdf: 22243686 bytes, checksum: 9b7d96e5a57d3917f4e717f5cdf50413 (MD5) Previous issue date: 2016-04-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The colonial system implemented by Portugal over the occupied territories in the west coast of India between the Sixteenth and Eighteenth centuries, by portraying the figure of the bailadeira, a category of dancer women associated with Hindu temples and whose representation had been based on reductionisms, misconceptions, and distortions related to prostitution, imposed an interpretation developed under the European ethnocentrism. It was a strategy to disqualify the local culture, facilitating the conquer project and the conversion to Christianity. Since the Indian antiquity, as observed in the bodies represented iconographically in ivory, the bailadeiras, particularly the devadasis, were the main carrier of their ancestry, religiously revived in the arts of liturgical dances and chants. Due to their social autonomy, these women transited in the spheres of the local power, always surrounded by ambivalences and contradictions from the colonial society. As historical subjects, they remained under stigma derived from the orientalism. This work, founded upon the Postcolonial Theory, aims to analyze the Indian coloniality and its mechanisms of self-affirmation and domination, which involves the bailadeira from the Portuguese India / O sistema colonial implantado por Portugal sobre os territórios ocupados no sudoeste da Índia entre os séculos XVI e XVIII, ao retratar a figura da bailadeira, uma categoria de mulheres dançarinas vinculadas aos templos hindus e cujas representações estiveram pautadas por reducionismos, equívocos e distorções associados à prostituição, impôs uma interpretação construída sob o etnocentrismo europeu, numa estratégia de desqualificação da cultura local, a favorecer o Projeto da Conquista e a conversão cristã. As bailadeiras, e em especial as devadasis, desde a antiguidade indiana, foram as principais portadoras da sua ancestralidade, religiosamente revivida nas artes das danças litúrgicas e do canto, como foi possível constatar em seus corpos iconografados em marfim. Em sua autonomia social, transitaram nas esferas dos poderes locais, entre as ambivalências e as contradições da sociedade colonial. Como sujeitos históricos permaneceram sob os estigmas do orientalismo. Este trabalho, concebido a partir da teoria pós-colonial, analisou a colonialidade na Índia e seus mecanismos de autoafirmação e subjugo do colonizado, no qual se enquadrou a bailadeira da Índia portuguesa

The thesis examines c. 280 forms and motifs derived from a reconstruction of 93 gold stater types struck within 7 geographical regions across southeastern England, c. 80 BC - AD 45. The thesis highlights the emerging presence of an iconographic repertoire across southern Britain during the late pre-Roman Iron Age. Gold staters remain an important aspect of this phenomenon which is demonstrated to have manifested itself in other media, particularly metalwork. That this new art form supplemented, but did not supplant, existing types of non-representational La Tene style art is suggested by the presence of other types of object that continue to be decorated in this fashion throughout the first century AD. In the absence of any other type of established or coherent methodology Erwin Panofsky's (1993, 1972) method of iconographic analysis is adopted in order to provide a framework for the analysis. Whilst retention of Panofsky's three 'Acts of Interpretation' can be justified, a post-structuralist critique of Panofsky's method exposes fundamental theoretical shortcomings with regards the interpretation of meaning. In contrast to preceding interpretations of iconographical data, inferences are made upon the basis of lan Hodder's (1995, 1986) 'context of use' of other types of comparable forms and motifs within the archaeological record. The iconological content of staters is interpreted in terms of a transition, c. 20 BC - AD 10, from the expression of corporate or public ideals in a 'tribal periphery' to the manifestation of personal or private concerns in the southeastern 'core'. This divergence coincides with the emphasis placed upon the relative 'monetary' or 'political' roles performed by coinage within these regions. From the context of the forms or motifs illustrated on staters it is concluded that such images were appropriated by members of a minority social elite to legitimise and maintain their position at the apex of a social hierarchy.

Victor Burton é um designer que dedicou a maior parte do seu trabalho ao livro. A fascinação por este objeto começou ainda na infância devido ao contato com as obras raras da biblioteca da família, o que aguçou o desejo de se tornar designer exclusivamente para projetar livros. Sua atuação no mercado editorial brasileiro começou no final dos anos 1970, na editora Confraria dos Amigos do Livro. Como o maior interesse de Victor no livro é a relação entre texto e imagem, os livros iconográficos se tornaram seu principal objetivo e são nos livros desta natureza onde melhor conseguimos visualizar seu estilo. Victor desenvolveu uma linguagem gráfica própria que redefiniu o padrão do mercado editorial brasileiro. Numa época em que o projeto gráfico, principalmente a capa do livro, entre tantas cores e atrativos disputam a atenção do consumidor nas prateleiras das livrarias, já não é tão fácil identificar nem a editora nem a autoria do projeto gráfico e da capa. Entretanto, os livros de Victor Burton possuem um estilo que nos permite reconhecer sua assinatura. Desta forma, a questão que norteou este trabalho foi por que conseguimos identificar os livros do designer Victor Burton? Sendo assim, o objetivo deste trabalho foi enumerar e identificar os aspectos gráficos que caracterizam o estilo deste designer nos livros iconográficos. Para isso, nos baseamos no método descritivo desenvolvido por Guilherme Cunha Lima, em O Gráfico Amador. A partir das características levantadas, pudemos identificar os principais elementos que nos permite reconhecer a autoria dos trabalhos desenvolvidos por Victor Burton. O uso desses aspectos gráficos reflete o trabalho meticuloso do designer Victor Burton que consegue criar uma narrativa visual auxiliando a leitura do texto através de uma nova leitura gráfica, sobretudo nos livros iconográficos / The designer Victor Burton has dedicated the most part of his work to the book. The interest for this object begun in childhood due the contact with rares books that are part of his familys collection, which increased the desire to become designer only to design books. When Victor started to work in the Brazilian editorial market at the end of the 1970s, at the Confraria dos Amigos do Livro house publisher. As the Victors main interest is the relationship between text and image, the iconographic books became his main goal and are in books of this nature that we can better visualize his style. Victor developed his own graphic language that has redefined the standard of the Brazilian editorial market. At a time when graphic design, especially the book cover, among many colors and attractive vie for consumer attention on the shelves of bookstores, is not so easy to identify neither the publisher nor the author of the graphic design and cover. However, the books of Victor Burton have a style that allows us to recognize your signature. Thus, the question that guided this study was why we can identify books of Victor Burton? Thus, the aim of this study was to enumerate and identify graphic aspects that characterize the style of this designer in iconographic books. For this, we based on descriptive method developed by Guilherme Cunha Lima in O Gráfico Amador. From the characteristics raised, we could identify the major elements that allow us to recognize the authorship of the work of Victor Burton. The use of these graphic aspects reflects the meticulous work of the designer Victor Burton who can create a visual narrative aiding reading the text through a new graphic reading, especially in iconographic books.

Victor Burton é um designer que dedicou a maior parte do seu trabalho ao livro. A fascinação por este objeto começou ainda na infância devido ao contato com as obras raras da biblioteca da família, o que aguçou o desejo de se tornar designer exclusivamente para projetar livros. Sua atuação no mercado editorial brasileiro começou no final dos anos 1970, na editora Confraria dos Amigos do Livro. Como o maior interesse de Victor no livro é a relação entre texto e imagem, os livros iconográficos se tornaram seu principal objetivo e são nos livros desta natureza onde melhor conseguimos visualizar seu estilo. Victor desenvolveu uma linguagem gráfica própria que redefiniu o padrão do mercado editorial brasileiro. Numa época em que o projeto gráfico, principalmente a capa do livro, entre tantas cores e atrativos disputam a atenção do consumidor nas prateleiras das livrarias, já não é tão fácil identificar nem a editora nem a autoria do projeto gráfico e da capa. Entretanto, os livros de Victor Burton possuem um estilo que nos permite reconhecer sua assinatura. Desta forma, a questão que norteou este trabalho foi por que conseguimos identificar os livros do designer Victor Burton? Sendo assim, o objetivo deste trabalho foi enumerar e identificar os aspectos gráficos que caracterizam o estilo deste designer nos livros iconográficos. Para isso, nos baseamos no método descritivo desenvolvido por Guilherme Cunha Lima, em O Gráfico Amador. A partir das características levantadas, pudemos identificar os principais elementos que nos permite reconhecer a autoria dos trabalhos desenvolvidos por Victor Burton. O uso desses aspectos gráficos reflete o trabalho meticuloso do designer Victor Burton que consegue criar uma narrativa visual auxiliando a leitura do texto através de uma nova leitura gráfica, sobretudo nos livros iconográficos / The designer Victor Burton has dedicated the most part of his work to the book. The interest for this object begun in childhood due the contact with rares books that are part of his familys collection, which increased the desire to become designer only to design books. When Victor started to work in the Brazilian editorial market at the end of the 1970s, at the Confraria dos Amigos do Livro house publisher. As the Victors main interest is the relationship between text and image, the iconographic books became his main goal and are in books of this nature that we can better visualize his style. Victor developed his own graphic language that has redefined the standard of the Brazilian editorial market. At a time when graphic design, especially the book cover, among many colors and attractive vie for consumer attention on the shelves of bookstores, is not so easy to identify neither the publisher nor the author of the graphic design and cover. However, the books of Victor Burton have a style that allows us to recognize your signature. Thus, the question that guided this study was why we can identify books of Victor Burton? Thus, the aim of this study was to enumerate and identify graphic aspects that characterize the style of this designer in iconographic books. For this, we based on descriptive method developed by Guilherme Cunha Lima in O Gráfico Amador. From the characteristics raised, we could identify the major elements that allow us to recognize the authorship of the work of Victor Burton. The use of these graphic aspects reflects the meticulous work of the designer Victor Burton who can create a visual narrative aiding reading the text through a new graphic reading, especially in iconographic books.

This thesis draws upon recent, art historical scholarship in iconography and semiotics to identify and analyze key images in an iconographic program associated with murals, paintings, and posters related to the Austin, Texas music venue, the Armadillo World Headquarters, 1970-1980. Resources include South Austin Museum of Popular Culture, the Center for American History at the University of Texas, Austin, personal communications, and publications concerning the artists, music and history of Austin and the Armadillo World Headquarters. There are five chapters as follows: Introduction, History of the Armadillo World Headquarters, Analysis of the Armadillo Mural and Freddie King Painting, Analysis of Posters for the Grand Opening and the Michael Murphey Cosmic Cowboy Concert, and Conclusion.

No description available.